fuzzfilth

Well, this is the craft (not the art, which is making it sound beautiful) of mixing. There is no magic bullet to conquer this. Experience will tell you how loud the bass can be to translate well enough on most systems, experience will tell you what you can and can not do with stereo width and phase, experience will tell you how to EQ and compress the vocals against the drums, and so on. Try things and then listen listen listen on everything you can find. You will ruin a good number of mixes until you eventually get acceptable results.

Short answer - don't. ...may work one or the other time, with the restrictions you found and FLH3 mentioned. But more important is that this is very likely to cause Project corruption. Corruption as in 'f*cked up beyond repair'-corruption. It's a long standing problem and I won't try this until Apple themselves declare it fixed, which they haven't for more than a decade. However - since this is somehow tied to the audio engine, you can disable Core Audio, open several Projects, do your stuff (compare / copy things, or work on external MIDI tracks), close all but one Project and enable CA again. This may or may not suit your workflow.

Scale multiplies, I.e. expands or compresses your dynamics Add makes everything louder or quieter by a fixed amount

Do you experience latency with the amp sims as opposed to without them ? Which audio interface ? USB? Thunderbolt ? What's your buffer setting ?

It's now in System Settings>Desktop and Dock. Scroll all the way down.

Standing on a giant cigar, in boiling hot water, no less. Respect 😅

I have no idea about Console, as it's an application tied to UAD hardware, which I don't own. Maybe ask in the UAD Console forum ?

Then Console is set up wrong and sends that audio directly to the monitors and not to Logic. There is nothing that Logic can do about this.

Because you bounced the Stereo-Out, which will always give you a two-channel file. Both channels will be identical, thus mono. If you want a one-channel mono file, you click the mono/stereo button on the Stereo-Out to mono, then click the Bounce button. Note that the Bounce... key command still creates a two-channel file, so the click is mandatory.

Against the Play click, put a Noise Gate on the Stereo Out (don't forget to bypass this before the final bounce). The Stop click will be way more tricky.

To me, space is so much about arrangement. If instruments are competing about space, the arrangement is wrong. Usually I'm not someone who recommends videos, but here is an excellent one, well worth the <2min of your lifetime:

One thing to specifically look for is whether there are any tempo *curves*. The calculation of these may have changed between Logic versions. Also these have a tendency to cause drift in certain situations.

Arrrgh. Just when my wounds had somewhat healed.

Pretty much, yes. They took the deep dive and managed to plant their systems into professional studios during the third digital wave (the first being MIDI, the second being Fairlight and Synclavier) in the 90s to replace tape. There were a few competitors, but Digidesign managed to ride that wave by having a powerful yet simple GUI combined with reliable (if expensive) hardware. Having sunk tens of thousands of your currency into a working (and compatible) system, you're not going to throw that out just because Cubase got a pretty update.

Here's what I'd do with a wild (i.e. not to a metronome) recording like this: - Beat Map roughly, like once every one or two bars, like I did with your file, so Logic knows how I meant what I played. This will create a Tempo Map which follows roughly what I played, leaving my little wanted or unwanted fluctuations between the mapped points. This leaves the human element in and avoids the mechanical rigidity that comes with hard quantisation. - after Beat Mapping, select the Region, ctrl-click it and select Tempo>Write Project Tempo To Audio File. - engage Flex in 1, 2 and 3 - now I can change the Tempo Map to lessen or remove unwanted fluctuations on a macro level or to change the tempo of the song entirely, and the Region will follow. However, my personal inaccuracies on single notes or phrases still remain intact. - Once I found a good tempo structure, I may (or not) try to refine my less-than-optimal playing skills either selectively with Flex Markers, or globally by using gradual quantisation, either on the entire Region or I may further divide the Region into sections which require more attention. I'd much prefer this approach to simply manually Flexing every note to a static tempo, because a) it's much quicker, b) it gives a much more natural feel and c) it is much easier to change later.